scholarly journals EDUKASI KERAJINAN DAUN KELAPA UNTUK PENGEMBANGAN INDUSTRI KREATIF DESA DURIAN LOMBOK TENGAH

2019 ◽  
Vol 1 (2) ◽  
Author(s):  
Alda Fadila ◽  
Aurelius RL Teluma
Keyword(s):  
Married Women ◽  
Creative Industries ◽  
Online Marketing ◽  
Creative Economy ◽  
Final Report ◽  
General Description ◽  
Training Process ◽  
Target Groups ◽  
Village Community ◽  
Group Evaluation

The partner of the EDKERDAPA group activity is the residents of Durian village, Janapria sub-district, Central Lombok district, West Nusa Tenggara Province (NTB). Durian Village is a village with an area of around 476 ha which has extensive coconut plantations. The group identified several community problems, namely: 1) Lack of understanding of creative industries and handicrafts both in the production and marketing stages; 2) The lack of willingness and enthusiasm of Durian villagers to make a new innovation, most married women in Durian village do not work and only become housewives; 3) The lack of knowledge about online marketing. Then the solution steps we have taken include: 1) Forming a business group that can improve the welfare of the Durian village community with the target groups we are targeting is Durian Village mothers who have a lot of free time; 2) Sharing the tasks of Durian village mothers who took part in the training, so some mothers focused on making crafts and some were given additional assignments to learn more about online marketing; 3) Establish cooperation with parties who are experienced in developing a creative economy based on handicrafts to assist in the training process and in developing the business later. Output targets for the activity include: 1) Establishment of a permanent and continuous coconut leaf craftsman group in Durian village to be able to carry out other activities related to handicrafts; 2) Progress and Final Report; 3) Scientific articles which contain background, rationale, and general description as well as information about handicraft development in Durian village, Central Lombok, which has been carried out by the EDKERDAPA group. Evaluation results indicate that the process and stages of activities have been carried out as planned

Creative economy: Towards cultural heritage capitalization

2017 ◽  
pp. 100-116 ◽  
Author(s):  
T. Abankina
Keyword(s):  
Cultural Heritage ◽  
Creative Industries ◽  
Creative Economy ◽  
Heritage Preservation ◽  
Creative Potential ◽  
Strategic Development ◽  
Post Industrial ◽  
Cultural Heritage Preservation

The paper analyzes trends in the development of the creative economy in Russia and estimates the export potential of the Russian creative industries. The author demonstrates that modern concepts of cultural heritage preservation focus on increasing the efficiency of its use and that building creative potential and systematic support of the creative industries are becoming a key task of the strategic development of regions and municipalities in the post-industrial era.

scholarly journals Mechanism Underlying the Formation of Virtual Agglomeration of Creative Industries: Theoretical Analysis and Empirical Research

2021 ◽  
Vol 13 (4) ◽  
pp. 1637
Author(s):  
Xu Chen ◽  
Chunhong Liu ◽  
Changchun Gao ◽  
Yao Jiang
Keyword(s):  
Digital Technology ◽  
Structural Equation ◽  
Structural Equation Models ◽  
Creative Industries ◽  
Theoretical Research ◽  
Creative Economy ◽  
Cultural Resources ◽  
Questionnaire Surveys ◽  
Network Collaboration ◽  
Geographical Space

Industrial agglomeration serves as an effective model for developing the creative economy and manifests itself as the interdependence of creative subjects in geographical space. The traditional methods of resource agglomeration have undergone tremendous changes due to the development of digital technology. These transformations have given birth to a new organizational form of the virtual agglomeration of creative industries. The present work uses field interviews and grounded theoretical research methods to construct a theoretical model of this new organizational phenomenon. Questionnaire surveys and empirical testing using structural equation models are here combined to systematically analyze the formation mechanism of the virtual agglomeration of creative industries. The results show that digital technology, virtual platforms, digital creative talents, digitization of cultural resources, and government policies have driven the formation of the virtual agglomeration of creative industries. This has been achieved through network collaboration, freedom of participation, and trust guarantee mechanisms. The effect of emerging consumer demand on the virtual agglomeration of creative industries is not significant. In addition, the implications of this research are also considered and discussed.

scholarly journals TECHNOLOGIES IN CREATIVE ECONOMY AND CREATIVE SOCIETY

2015 ◽  
Vol 21 (6) ◽  
pp. 855-868 ◽  
Author(s):  
Tomas KAČERAUSKAS
Keyword(s):  
New Technologies ◽  
Communication Technologies ◽  
Creative Industries ◽  
The Other ◽  
Creative Economy ◽  
Other Hand ◽  
Political Media ◽  
The One ◽  
Media And Communication

The article deals with issues of technologies in the environment of creative economy and creative society, mostly focusing on the following topics: 1) invasion of technologies, which is accompanied by technical illiteracy or simplification of intellection presupposed by a certain technique (e.g. computers); 2) new technologies emerge in the environment dominated by consumption in order to boost consumption; 3) political, media and communication technologies are intertwined to the extent that allows us to speak about the technologized society; 4) technologies are inseparable from creative activities: on the one hand, development of technologies needs creativity, on the other hand, every branch of creative industries needs certain technologies; 5) technologic development is conditioned by their syncretism, i.e. their ability to serve the art (technē) of life and creative intentions; 6) in the creative society, happiness does not depend on constantly upgraded (i.e. consumed) technologies but is rather possible in spite of them; 7) unlimitedness is the greatest limitation of global technologies: unconnected with any existential region, they billow in the wind of ever newer technologies.

scholarly journals INDUSTRY REVOLUTION 4.0 : STRENGHTHENING THE CREATIVE ECONOMY SECTORS THROUGH BEKRAF IMPLEMENTATION PROGRAMS

2020 ◽  
Vol 5 (01) ◽  
pp. 84-108
Author(s):  
I Wayan Aditya Harikesa
Keyword(s):  
Social Inclusion ◽  
Creative Industries ◽  
Creative Economy ◽  
The World ◽  
Close Cooperation ◽  
Economic Foundation ◽  
The Government ◽  
Small Medium Enterprises ◽  
The Right ◽  
Medium Enterprises

President Joko Widodo or Jokowi has made a great leap in enhancing Indonesia�s Small Medium Enterprises (SME)s and the country�s overall creative industries by establishing a new non ministerial institution called Badan Ekonomi Kreatif (BEKRAF) or the Creative Economy Agency. The BEKRAF, established under the Presidential Regulation Number 6 of 2015 issued on January 20, 2015, is responsible for accelerating the development of creative economy in Indonesia. Small Medium Enterprises (SMEs) have been playing crucial roles for generating economic progresses as well as social inclusion in Indonesia. Among the most important and worthy of priority is the country�s creative economy. The existence of BEKRAF will enhance close cooperation between the government, SMEs players and related economic stakeholders. This paper aims to assess the concept of �Creative Industries,� as a boundary concept that allows for increased co-operation between players and the generally opposing knowledge concepts�as reflected in their respective knowledge and cultural politics. Indonesia has great potential in terms of economic growth. In 2015, Indonesia�s Gross Domestic Product (GDP) rocketed to 4.79 percent, far above the previous expectation of only 2.4 percent. This encouraging climate is indeed the right moment for the government to strengthen the country�s economic foundation particularly in the real economic sector. Hence, BEKRAF has a vision to build Indonesia as one of the world�s great economic powers in the field of creative economy by 2030. This issue will be discussed comprehensively in the final part of the paper.

scholarly journals CREATIVE ECONOMY IN ECONOMIC DEVELOPMENT OF CROATIA

2019 ◽  
Vol 40 ◽  
pp. 21-37
Keyword(s):  
Global Economy ◽  
New Technologies ◽  
Tertiary Education ◽  
Creative Industries ◽  
Creative Economy ◽  
Creative Industry ◽  
Highly Educated ◽  
Eu Member States ◽  
The People ◽  
The Republic

Creative economy is one of the most propulsive sectors, which share in global economy as well as national ones continuously grows (Jones et al., 2016). Within the territory of 28 EU member states it participates with 4.5% of GDP and employs 3.8% of total workforce (https://ec.europa.eu/eurostat, 2017). Axis of creative economy development is made of cultural and creative industries that are generators of new technologies, innovation and media. This paper analyses cultural and creative industry in the Republic of Croatia, as well as their role in economic and social development of the country. Cultural and creative industry (CCI) are directed towards highly educated workforce of tertiary education, digital society and 4.0 Globalisation. People employed in CCI in the Republic of Croatia are at the EU average with 3.6% of total workforce (2017) and with 50% of employed with tertiary education (https://ec.europa.eu/eurostat, 2017). CCI are important in expressing identity of the people but they are also an engine of economic growth (HKKI, 2015).

scholarly journals Influence of COVID-19 on creative industries

2021 ◽  
Vol 21 (1) ◽  
pp. 48-54
Author(s):  
Yulia O. Glushkova ◽  
◽  
Anastasia V. Vasina ◽  
Keyword(s):  
Theoretical Analysis ◽  
Economic Activity ◽  
Information Technologies ◽  
Structural Changes ◽  
Business Processes ◽  
Creative Industries ◽  
Creative Economy ◽  
Social Efficiency ◽  
Coronavirus Infection ◽  
The Impact

Introduction. This study analyzes the impact of the new COVID-19 coronavirus infection on the creative industries in the Russian Federation, as well as finding solutions to support this area in the context of the pandemic. Theoretical analysis. Since the latest imperatives of the current world processes dictate the need for structural changes in the state economic activity, the actual principle of the economic activity organization can be called the creative industries concept development, which include industries related to the creation of a certain cultural or creative product, IT-sphere, fashion and design, advertising and marketing products, as well as folk art and craft. Due to the relevance of the creative industries development, modern research on the theory of creative economy development pays great attention to the study of the specifics of this activity and ways to improve it. The article provides a theoretical analysis of the crisis in the creative industries, as well as a detailed analysis of the opportunities and threats of the crisis. Empirical analysis. Based on the analysis of the activities of companies in the creative industries, the authors of the article identify opportunities for the development of companies in the creative sphere in terms of economic and social efficiency. New trends in the transformation of business processes in various fields (theatre, film industry, music, exhibition and Museum activities) are considered. Results. Based on the analysis, it is concluded that the urgent tasks in the situation of forced quarantine measures are the timely transformation of creative industries with the use of information technologies, the transition to online areas of interaction with consumers, as well as state support for creative industries most affected by the crisis.

scholarly journals STARTUP AS A STRATEGIC COMPONENT OF THE DEVELOPMENT OF THE CREATIVE ECONOMY OF UKRAINE

2021 ◽  
Vol 5 (40) ◽  
pp. 389-398
Author(s):  
N. Ivanova ◽  
D. Kucherenko ◽  
Т. Kuznetsova ◽  
N. Hurzhyi ◽  
L. Lutay
Keyword(s):  
Human Capital ◽  
Production Capacity ◽  
Creative Industries ◽  
Creative Economy ◽  
Innovation Ecosystem ◽  
Structural Part ◽  
Positive Effects ◽  
The Creation ◽  
The Government ◽  
Support Fund

Abstract. The radical changes that took place at the end of the last century contributed to the emergence of a creative economy. Unlike previous economies, in which the main factors of production were production capacity, land and labor, the basis for the development of the creative economy was the creative potential of man. The current economic situation in Ukraine faces many challenges that need to be confronted with viable solutions. The occupation of Crimea cost Ukraine 3.6% of GDP, and the occupied territories of Donbass cost another 15% of GDP and 25% of all Ukrainian industry. In addition, many industries and factories in Ukraine are physically and morally obsolete and require large capital investments. These problems, which, as the experience of Ukraine shows, are not solved by traditional tools, force us to look for non-standard ways to solve them. Such approaches are offered by the creative economy.To assess the opportunities provided to Ukraine by the development of the national creative economy, the article considers the positive effects of the creative economy as evidenced by the successful experience of other countries. Such effects are the formation of creative human capital, increasing incomes, increasing tolerance, the revival of depressed regions. However, the realization of these positive effects is possible provided that there are components of the creative economy in Ukraine. Research by Ukrainian scientists proves that in Ukraine there are the main features of the creative economy, namely: creative industries; creative class as a basis of the creative lever of development of creative economy; young, creative, ambitious entrepreneurs — startups. A key factor in the development of the creative economy is creative human capital, an essential component of which are entrepreneurs — innovators who establish startups to implement their ideas. Analyzing the various definitions of the category «startup», the authors concluded that the most acceptable is one that reflects the fundamental difference between startups and other businesses, namely: a startup is a business structure based on revolutionary innovations, the purpose of which is to solve a specific problem presentation of a new product or service in conditions of extreme uncertainty. Taking into account the innovative nature of startups, their impact on the creation and development of creative industries and the creative economy in general allowed the authors to conclude that startups are a strategically important component of the development of the creative economy. Research has shown that the Ukrainian startup ecosystem has good potential for development. However, the Government of Ukraine is not yet paying due attention to the development of the ecosystem for the successful creation and operation of domestic startups. Only in the last few years has Ukraine begun to support innovative products at the state level. Examples of such support are the creation of the Invention Support Fund of the Ministry of Economic Development and the Ukrainian Startup Fund. In addition, according to the strategy for the development of innovation for the period up to 2030, startups are a structural part of the national innovation ecosystem. However, intensive long-term work is needed to create an effective startup support ecosystem. Even with large investments and the desire to replicate the successful ecosystems of Silicon Valley or New York, it is very difficult, because their infrastructure was formed over 30 years. Keywords: creative economy, positive effects, creative human capital, startup, ecosystem of startups. JEL Classification М11 Formulas: 0; fig.: 1; tabl.: 1; bibl.: 14.

scholarly journals OPTIMALISASI LIMBAH KULIT BUAH RAMBUTAN MENJADI SUBKUTAN SEBAGAI PRODUK PANGAN YANG BERDAYA JUAL

2019 ◽  
Vol 15 (2) ◽  
pp. 235
Author(s):  
Melani Putri Melati ◽  
Siti Nuraini ◽  
Yovita Aprilia Putri ◽  
Bagus Mardika ◽  
Agus Suyanto ◽  
...  
Keyword(s):  
Organic Waste ◽  
Scientific Journal ◽  
Creative Economy ◽  
Final Report ◽  
Native Plant ◽  
The Road ◽  
Nephelium Lappaceum ◽  
Evaluation Phase ◽  
Implementation Period ◽  
On The Road

Rambutan (Nephelium lappaceum L.) is a seasonal fruit and is a native plant from Indonesia. No wonder if it's in the rambutan season, a lot of rambutan skin trash piles up on the road. This is certainly a problem if not addressed immediately. The purpose of this PKM is to save the environment from a pile of organic waste with new breakthroughs that are worth selling in increasing the growth of the creative economy. The new breakthrough is by processing rambutan skin into SUBKUTAN. The method of implementation in this PKM includes the planning, preparation of materials and materials, manufacturing of products, stages of promotion, marketing, and the evaluation phase with an implementation period of 5 months. The results of this PKM are SUBKUTAN candied products. We have marketed SUBKUTAN products both online and offline around Madiun, then we have also worked with various pharmacies, shops, and small shops. This product has various benefits that are good for health, specifically can reduce cholesterol, besides that this product has a fairly affordable price of Rp. 15,000.00. The output of our PKM is SUBKUTAN candied products, the publication of articles in the National Scientific Journal, final report, and progress report.

Counting on Carrington Road: Street Numbers as Metonyms of the Urban

2018 ◽  
Vol 17 (4) ◽  
pp. 433-450 ◽  
Author(s):  
Alexandra Crosby ◽  
Kirsten Seale
Keyword(s):  
Visual Presentation ◽  
Creative Industries ◽  
Creative Economy ◽  
Top Down ◽  
Fine Grained ◽  
Creative City ◽  
Starting Point ◽  
Urban Futures ◽  
Post Industrial ◽  
The City

As urban renewal agendas are fortified in cities globally, ‘creativity’ – as contained within discourses of the creative industries, the Creative City and the creative economy – is circulated as the currency of secure post-industrial urban futures. Using the nexus between creativity and the urban as a starting point, the authors investigate how local enterprises visually communicate the urban in a neighbourhood that is characterized by the interface between manufacturing and creative industries. This research takes a fine-grained approach to the notion of creativity through an audit and qualitative analysis of the visual presentation, material attributes and semiotic meaning of street numbers. The authors do this by collecting data on and analysing how street numbers have been made, selected, used, replaced and layered in a contested industrial precinct in Australia’s largest city, Sydney. They contend that street numbers, as a ubiquitous technology within the city that is both operational and creative, are metonyms for what they understand to be urban. In arguing for vernacular readings of the city, they make use of a top-down, governmental mode of reading the city – the operational legibility of street numbering – as an intervention in current discourses of the urban and of creativity in the city.

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